Relevant bibliographies by topics / Cabaret songs

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  2. Dissertations / Theses
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Academic literature on the topic 'Cabaret songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Cabaret songs"

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Ruttkowski, Wolfgang. "Cabaret Songs." Popular Music and Society 25, no. 3-4 (2001): 45–71. http://dx.doi.org/10.1080/03007760108591799.

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Remshardt, Ralf. "Four Cabaret Songs by Frank Wedekind." Delos: A Journal of Translation and World Literature 35, no. 1 (2020): 25–33. http://dx.doi.org/10.5744/delos.2020.1003.

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Ferran, P. W. "The Threepenny Songs: Cabaret and the Lyrical Gestus." Theater 30, no. 3 (2000): 5–21. http://dx.doi.org/10.1215/01610775-30-3-5.

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Lareau, Alan. "Lavender Songs: Undermining Gender in Weimar Cabaret and Beyond." Popular Music and Society 28, no. 1 (2005): 15–33. http://dx.doi.org/10.1080/0300776042000300954.

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Kwan, SanSan. "Performing a Geography of Asian America: The Chop Suey Circuit." TDR/The Drama Review 55, no. 1 (2011): 120–36. http://dx.doi.org/10.1162/dram_a_00052.

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The Chop Suey Circuit describes Asian American cabaret performers who toured the US from the 1930s through the '50s. Performing the era's popular songs and dances, these “Orientals” were novel yet familiar, exotic yet accessible. At a time of war, internment, and segregation they simultaneously solidified and challenged racial cartographies that would emplace race.
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Robb, David. "Narrative Role-Play in Twentieth-Century German Cabaret and Political ‘Song Theatre’." New Theatre Quarterly 26, no. 1 (2010): 25–37. http://dx.doi.org/10.1017/s0266464x10000035.

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One of the most creative communicative strategies of German twentieth-century political song has been narrative role-play. From the songs of Kurt Tucholsky and Walter Mehring in Weimar cabaret during the 1920s to the dramatic monologues of Franz Josef Degenhardt in the 1960s and beyond, singers have assumed identifiable roles to parody the language, mannerisms, and characteristics of known establishment social types. Role play has also been evident in the narrative identities constructed by singers and performers, either by means of literary association or by association with certain political
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Sherzer, Dina, and Laurence Senelick. "Cabaret Performance. Volume I: Europe 1890-1920. Sketches, Songs, Monologues, Memoirs." Theatre Journal 43, no. 3 (1991): 413. http://dx.doi.org/10.2307/3207610.

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Bell, John, and Laurence Senelick. "Cabaret Performance, Volume II: Europe 1920-1940 Sketches, Songs, Monologues, Memoirs." Theatre Journal 45, no. 4 (1993): 564. http://dx.doi.org/10.2307/3209033.

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Imans, Logan. ""Up Close and Intimate": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls." Nota Bene: Canadian Undergraduate Journal of Musicology 13, no. 1 (2020): 1–24. http://dx.doi.org/10.5206/notabene.v13i1.8559.

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The Dresden Dolls are a punk-cabaret band that use their music to delve into diverse and taboo subject matter including sexual assault, abortion, and trauma. Despite the morose and grotesque imagery invoked by their lyrics, this paper advocates for the therapeutic effects of catharsis as encouraged by The Dresden Dolls. This essay provides an overview of the applications of catharsis in the arts and psychotherapy, explores how the musical elements and performance contexts of punk-cabaret elicit catharsis, and develops a contemporary theory of catharsis as it pertains to the music of The Dresde
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Albright, Daniel. "Postmodern Interpretations of Satie's Parade." Canadian University Music Review 22, no. 1 (2013): 22–39. http://dx.doi.org/10.7202/1014497ar.

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If postmodernism can be considered ahistorically, as a stylistic category operative at any time and in any place, then there are many older works that suddenly seem to speak strongly to our present age. This paper argues the case for taking Erik Satie as a postmodernist: his music is marked by bricolage (the E-driophthalma movement from Embryons desséchés, 1913, borrows a theme, according to the score, "from a celebrated mazurka by Schubert"); by polystylism (the cabaret songs written for Vincent Hyspa, or Parade with its quotation from Irving Berlin); and by materialism of the signifier (what
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Dissertations / Theses on the topic "Cabaret songs"

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Grumet, Amanda Jocelyn. "The elusive cabaret song: The marriage of classical and popular styles in the Cabaret Songs of William Bolcom and Arnold Weinstein." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290696.

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The Cabaret Songs of William Bolcom and Arnold Weinstein merge characteristics of European cabaret song and art song with characteristics of American popular song to create a modern American form of cabaret song which generates a complete theatrical characterization in each piece. Aspects of European cabaret song evident in these songs include satire, parody, and directness and intimacy of presentation. Independence of the piano, partnership of the piano and voice, and effective word setting and word painting are qualities identified with European art song which appear in these Cabaret Songs.
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Mullins, Rebecca Eveleth. "The World of Somewhere In Between: The History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372753684.

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Struve, Jonathon Paul. "Friedrich Hollaender and the art of writing songs for the cabaret." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5650.

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Friedrich Hollaender (1896-1976) was one of the most prolific composers of cabaret song literature in Berlin between 1918 and 1933. Beginning with his work at the literary-political cabarets of the early 1920s, including Max Reinhardt’s Schall und Rauch, Trude Hesterburg’s Wilde Bühne, and Rosa Valetti’s Café Größenwahn and continuing through the cabaret revues presented at Hollaender’s own Tingel-Tangel-Theater in the early 1930s, Hollaender wrote over 200 cabaret songs. A classically trained composer who studied with Engelbert Humperdinck, Hollaender ultimately found his niche in creating ca
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Roberts, Erinn. "Stylistic fusion in the Cabaret Songs of Benjamin Britten and W.H. Auden : a performer's analysis." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/16322.

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The Cabaret Songs of W.H. Auden and Benjamin Britten merge characteristics of a multitude of styles. The purpose of this document is to investigate the fusion of styles making up the Cabaret Songs and to analyze them from a performer’s perspective with the goal of providing collaborative partnerships with an historical and musical foundation on which to build their interpretation of the Cabaret Songs and thereby serve as a basis for informed performance decisions. Chapter 1 includes biographical information for both Benjamin Britten and W.H. Auden focusing on how the two artists met and discu
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Bateman, Marlene Titus. "The Cabaret songs, volume one, of William Bolcom and Arnold Weinstein : an exploration and analysis /." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008241.

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Ferguson, Naomi Joy. "Literary Alchemy - Turning Fact into Fiction, Songs My Mother Taught Me, Songs My Mother Taught Me - Revised Edition, In Defence of Love." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5062.

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My MFA portfolio consists of two scripts for performance and a research essay exploring the methods and process of writing these. Songs My Mother Taught Me is a one-woman cabaret piece; set in 1972, it explores hippie culture in New Zealand and a young women‟s search for independence. This portfolio contains two versions of this script. Both versions of this piece have been performed. In Defence of Love is a play for three actors, each of whom plays one aspect of an abused woman trying to find her way out of a destructive relationship.
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Brooks, Colleen. "Cabaret Songs by Classical Composers During the First Half of the 20th Century: Satie, Schoenberg, Weill, and Britten." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281990477.

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Tedrick, Deborah. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2668.

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Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabare
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Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.

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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broad
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Marlin, Maggie. "Musical Theatre Handbook for the Actor." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1774.

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MUSICAL THEATRE HANDBOOK FOR THE ACTOR By Maggie Elizabeth Marlin, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: David S. Leong Chairman, Department of Theatre Musical Theatre is a performance style deeply woven into the fabric of the American theatre. We live in time and social climate where over half of the productions open on Broadway right now are musicals. If actor training institutions profess a mission to prepare their students for a ca
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Books on the topic "Cabaret songs"

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Martinů, Bohuslav. Tři šansony pro Červenou sedmu =: Three chansons for the cabaret Red Seven : 1921, H. 129 : canto e piano. Tempo, 1993.

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Hanenberg, Patrick van den, and Hilde Scholten. De bokken en de schapen: Gezongen geschiedenis van de twintigste eeuw. Nijgh & Van Ditmar, 2001.

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Ghost song. Felony & Mayhem Press, 2012.

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Poumet, Jacques. La satire en R.D.A.: Cabarets et presse satirique. Presses universitaires de Lyon, 1990.

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Rayne, Sarah. Ghost song. Simon & Schuster, 2009.

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Ghost song. Simon & Schuster, 2009.

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Ghost song. Pocket, 2009.

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Nögge, Frieder. Ich singe dieses Lied für Euch: Narrenpoesie. Urachhaus, 1985.

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Waters, Elsie. Song and sketch transcripts of British music hall performers Elsie and Doris Waters. Edwin Mellen Press, 2003.

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Kimminich, Eva. Erstickte Lieder: Zensierte Chansons aus Pariser Cafés-concerts des 19. Jahrhunderts : Versuch einer kollektiven Reformulierung gesellschaftlicher Wirklicheiten. Stauffenburg Verlag, 1998.

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Book chapters on the topic "Cabaret songs"

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Humble, Keith. "Five Cabaret Songs (1985)." In New Vocal Repertory. Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18494-1_8.

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Holmgren, Beth. "Cabaret Nation." In Polin: Studies in Polish Jewry Volume 31. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764715.003.0013.

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Kabaret literacki—’literary cabaret’, a specific form of cabaret consisting of comedy sketches, monologues, and songs with satirical social and political content—was a revolutionary phenomenon in terms of Polish culture, Jewish culture, and notions of Polish national identity. It flourished mainly in Warsaw between the world wars —that is, in the capital of a newly independent nation that was also a great Jewish metropolis with a third of its residents identifying themselves as Jews or ‘of Jewish background’....
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Manning, Jane. "KEITH HUMBLE (1927–1995)Eight Cabaret Songs (1985–1989)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0039.

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This chapter introduces eight cabaret songs by Keith Humble. These songs are quirkily original and distinctly offbeat. Humble has said that, rather than representing cabaret tradition, the pieces are redolent of the period in France just after the Second World War, when groups of artists engaged in political and existential discussion. The texts themselves concern the eternal themes of love and death. As may be expected, piano parts are especially striking and wide-ranging in character. The work’s history is somewhat chequered, however: Humble originally wrote five songs, but added others later, adjusting their order over time. The last is by far the most elaborate.
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Gross, Natan. "Mordechai Gebirtig: The Folk Song and the Cabaret Song." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0007.

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This chapter details how Mordechai Gebirtig engraved his name on the history of Jewish cabaret in Poland between the wars. Every singer had his songs in his or her repertoire. These songs spread from the cabaret stages (kleynkunstbine) of Łódź and Warsaw to all of Poland and to the entire Jewish world. Even today they are alive on the stage and in Jewish homes; they are an indispensable part of the repertoire of Jewish singers. They are also arousing increasing interest among non-Jewish audiences in Poland, Germany, the Netherlands, Italy, and the United States. Since the destruction of European Jewry, these songs have become a crucial means of learning about Jewish folklore and the life of the Jewish poor, matters inadequately recorded in Yiddish literature and other sources.
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Manning, Jane. "BRETT DEAN (b. 1961)Poems and Prayers (2006, revised 2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0019.

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This chapter explores Australian musician and composer Brett Dean’s Poems and Prayers (2006, revised 2011). These five songs form a highly distinctive showpiece, containing elements reminiscent of cabaret. The style is eclectic, within a ‘friendly atonal’ mode. Intervals will need careful tuning and rhythms are often elliptical. Each song could hardly be more different. The sharp, mordant texts have more than a hint of irony and bitterness, and the range of moods projected requires a singer of considerable artistry and poise as well as excellent diction. The first three songs (‘Literature’, ‘A Child Is a Grub’, and ‘Prayer I’) are brief, but highly concentrated. The vocal range throughout is comfortable and eminently practicable, avoiding extremes. Declamatory speech occurs in the fourth (‘Equality’), and the last movement (‘Prayer’) is almost entirely in Sprechstimme.
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Tuwim, Julian. "Utwory nieznane. Ze zbiorów Tomasza Niewodniczańskiego w Bitburgu: Wiersze, Kabaret, Artykuły, Listy." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0037.

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This chapter assesses Julian Tuwim's Utwory nieznane (Unknown Works), the title of which is somewhat misleading. The book is largely made up of cabaret pieces that were performed and known to the public; they simply were never published in written form. Still, the book's publication in 1999 was an important event, not only for poetry lovers and historians of literature, but also from a Jewish perspective. Jewish topics appear prominently and in many forms in this collection of poems, facsimiles, juvenilia, cabaret skits and songs, and private letters from various periods of the poet's life. This is in clear contradiction to the stereotype, predominant in Jewish historiography, of the pre-war Polish Jewish intelligentsia as thoroughly assimilated and uprooted. Tuwim's example demonstrates that the opposite was the case. Like many other writers, he was in constant dialogue with his Jewishness, defending it when attacked, but also critical of Jewish obscurantism.
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Steps Out." In Madeleine Dring. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0006.

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Dring’s early career is traced through her commissions for BBC radio and television broadcasts, of which the most significant is The Fair Queen of Wu, a ballet for singers and chamber ensemble with choreography by Felicity Gray. During these years, her first publications appeared, with an emphasis on piano music (for solo piano and two pianos) and her Three Shakespeare Songs. Dring’s music was also performed in recitals, including her recently published piano works and a selection of her songs (published and unpublished). The most favorable reviews are found for her Festival Scherzo (“Nights in the Gardens of Battersea”), written to commemorate the Festival of Britain. Also discussed is her one-act opera, Cupboard Love, the music written for the Christmas plays produced by Angela Bull’s Cygnet Company, and her first performance as a singer at the RCM’s Union “At Home.” A fine example of Dring’s cabaret style is found in the discussion and analysis of her song, “The Lady Composer.” In her personal life, the chapter documents her marriage to Roger Lord, his career as a musician (principal oboe in the London Symphony Orchestra for thirty-three years), and the birth of her son, Jeremy.
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Beaster-Jones, Jayson. "Songs in the Key of the Angry Young Man and the Cabaret Woman." In Bollywood Sounds. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199993468.003.0005.

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Wielanek, Stanisław. "Szlagiery starej Warszawy: Śpiewnik andrusowski." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0038.

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This chapter describes Stanisław Wielanek's Szlagiery starej Warszawy: Śpiewnik andrusowski (Hits of Old Warsaw: A Songbook of the Streetwise). Wielanek is the leader of Kapela Warszawska, a street band that usually performs for tips in an underpass near the Hotel Forum in the centre of Warsaw. They play mainly pre-war Warsaw urban folk music. Wielanek's 500-page volume contains a richness of material that is not only musical—including both scores and lyrics—but also literary and iconographic: from cabaret monologues and vignettes, jokes, bon mots, and biographical and contextual information, to drawings, posters, photographs, and postcards. Alongside old Warsaw songs and criminal or lumpenproletarian ballads, the book includes a separate section on Jewish folklore in Polish which is nearly 100 pages long, and another fifty-page section on Lwów.
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Bohlman, Andrea F. "Introduction." In Musical Solidarities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938284.003.0001.

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The introduction defines “political action” and “solidarity” theoretically, as frameworks for organizing and dispersing the relationship between music and protest. It also introduces the Polish opposition to state socialism, giving an overview of the political agents (activists, critics, citizens, priests, bureaucrats, Party members, journalists) who are the main protagonists of this history and who guide the musics and scenes upon which the book focuses. One cabaret anthem, Jan Pietrzak’s “So That Poland Will Be Poland,” serves as an orientation point. The song’s text, key performances in Warsaw, and use by the US Information Agency for propaganda give insight into national and international perspectives on the Solidarity movement and its historiography from the 1980s into the present.
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